NomineeWanesia Misquadace
Nominee Phone(505) 670-8901
Nominee EmailEmail hidden; Javascript is required.
Nominee Address13601 S. 44th St. #1026
Phoenix, Arizona 85044
United States
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Nominee Websitehttp://
Nominee Resume or CVWanesia-CV.pdf
Additional Information 1Wanesia-Personal-Statement.pdf
Additional Information 2Wanesia-Article1.pdf
Additional Information 3Wanesia-Article2.pdf
Work Sample 1Work Sample 1
Work Sample 2Work Sample 2
Work Sample 3Work Sample 3
Work Sample 4Work Sample 4
Work Sample 5Work Sample 5
Describe how the nominee fulfills the criteria for the IMPACT Award. Maximum 5000 characters.

Assistant Professor Wanesia Misquadace’s contributions to the fields of contemporary art and Indigenous history are distinctive and noteworthy. Misquadace is an Anishinaabe woman and an enrolled citizen of the Minnesota Lake Superior Chippewa tribe of the Fond Du Lac Band, whose work is focused on the sharing and preserving cummuliative indigenous knowledge, fostering meaningful dialogues and connections between Indigenous communities and the broader society, and positioning Indigenous art and craft as emergent and innovative. Misquadace is a creative voice that celebrates and champions marginalized Indigenous communities. For Wanesia Misquadace, art is a means for advancing social and environmental justice, reclaiming Indigenous narratives, challenging dominant cultural norms, and addressing issues of erasure and violence against women.

Wanesia Misquadace is instrumental to the advancement and documentation of the expanded field of Jewelry and Metalwork. Her pieces are recognized for their quality, while celebrated for their narrative storytelling. Misquadace is a highly intentional artist who selects and combines different materials and techniques, frequently choosing to employ challenging techniques and materials that are difficult to work with, but ultimately best contribute to narratives and the positioning of metaphors. One technique and innovation that has distinguished her creative practice within the larger field, is Ojibwe birch bark biting, an Anishinaabe art form that is tied to Indigenous oral traditions of narrative storytelling that only a handful of people are actively practicing. By combining this historical and underrepresented creative practice with contemporary small metals sculpture and jewlery, Misquadace is preserving and positioning the technique in dialogue with today’s pressing issues. The metal smithing technique she employs is labor- and time-intensive, exquisite, rare, complex and challenging in that it incorporates multiple techniques, materials, and processes.

Wanesia Misquadace is a practicing artist that perfectly models the very vision of SNAG, which “. . . engages in thoughtful conversation and critical discourse while preserving tradition and embracing innovation.” Like SNAG, Misquadace also demonstrates in her work that she, beyond a doubt is committed to the advancement of jewelry and metalsmithing, is innovative, contributes to diversity in the field, and shares knowledge of the deeper meanings of her work through Native storytelling traditions.

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